4 comments about Charleston Blacksmith: The Work of Philip Simmons.

1. John Vlach gives us an interesting biographical study of Philip Simmons' blacksmithing in this richly illustrated book. The book begins with Simmons' accounts of his early life in the Sea Islands off Charleston's coast. He then describes how Simmons' life changed when he discovered the love of his life: blacksmithing. Vlach and Simmons provide enough context to show how he began learning the art. The book then gives us a portfolio of Simmons' work, with a special focus on the elaborate gates that epitomize much of his artistry. These photos were selected by Simmons, and Vlach provides fine commentary on each illustration. This commentary gives readers a better understanding of blacksmithing, and it trains the eye to examine this type of ironwork, thereby enhancing one's appreciation for Simmons' skill. One of my favorite chapters is a vibrant presentation of Simmons' work with apprentices. He describes interactions between Simmons and Willie Williams to provide a vivid depiction of the folklife of a blacksmith shop. This chapter reveals the passion that both artists feel for their work. The book's final chapters show how Simmons has been honored for his work, and they provide a fine tribute to his many accomplishments and his inspiring artistic vision.



2. After visiting Charleston and meeting this wonderful, talented gentleman, I bought the book to learn more about him. It is well written and describes beautifully the wrought iron gates that he designed and built in this lovely city. If you've seen any of his work either in Charleston or the Smithsonian Museum, this book will add to your knowledge of this very talented African American, now 95 years old.



3. I am sorry, but I never read the book, but I purchased it as a gift for friend. However I had the pleasure of meeting Mr Simmons on a tour of Charleston, South Carolina in 1998. He is an incredibly lively person who is full of humor and has countless stories to share. I remember one in particular, when he spoke of his years as a boy when there were only horse & carriages for transportation. Then he said the age of the automobile came to be and folks would stop whatever they were doing to watch in awe as the automobile went by. Then he chuckled quietly as he descibed the same behavior today when a horse & carriage goes clamoring through town. There are no words to describe the artistic craftmanship of Mr. Simmons iron works, you simply have to see for yourself. As for Mr. Simmons, he is a proud yet humble man about his craft, his works and his life, you should meet him for yourself.



4. a stirring and engaging account of a man whose life spans almost the whole century, who grew up in a fascinating environment, regularly crossing between worlds while he served an apprenticeship, and went on to cross between other worlds, a folk artist who is regarded by the art world as a peerless sculptor, whose work is exhibited in museums. THis is a great study by a preeminent folklorist that will interest anyone.

No comments about The Parthenon Marbles: The Case for Restitution, New and Fully Updated Edition.

5 comments about North American Indian Jewelry and Adornment.

1. My brother-in-law has the exact same title book,his book has over 600 pages! I ordered the book thinking that I would get a similar copy at a great price. I did not realize that I was purchasing an condensed version. The information in the book, although somewhat sparse is good. Thank you.



2. A few years back I signed up for a class in silversmithing which soon became addictive. In addition to that interest, I have always been interested in primitive art such as that of the American Indians, the cave drawings, Australian Aboriginal art or spiritual drawings. These forms of spirituality and art or of art are very powerful. I have chosen to concentrate my silversmithing designs toward the designs I see from these primitive peoples. The book, North American Indian Jewelry and Adornment has proven to be very helpful toward that aim. In addition to that, it's just plain good reading.



3. This gorgeous book is indeed indispensable, especially if "read" visually. Unfortunately, quite a few of the tribal attributions for historic objects (information given to the author by museums) are wrong. Given the scope of this project, Dubin had little choice but to take often out-dated info at face value rather than do her own research. However, readers should keep this caveat in mind when using this work as a reference.



4. This book is a must-have for anyone serious about studying Native American cultures. It is a fun read, while still being absolutely crammed with information. It's clear the author put in a lot of time and work to master her subject. Not to mention, the artwork featured in the book is beautiful. I love to breeze through it when I've had a hard day, just to feel my spirits lift looking at such amazing works of art. You will learn so much and enjoy the journey enormously.



5. this book could easily inspire a life of crime--how else to afford the gorgeous contemporary jewelry? or acquire the museum quality antique and archeological collections?

   as a knitter, embroiderer and beader, i am always looking for inspiration for my pieces. i may stoop to outright plagarism when it comes to the works in this incredible book. though i will say that i can only dream of having the level of skill the pieces display. the craftmanship, the artistry, are humbling when one considers the tools the artists had--and the reservation conditions under which too much of the art was created.

   the text is wonderfully informative, if you can force yourself to read it, instead of allowing yourself to be mesmerized by the photos.

   follow the advice of the professional review--buy this book immediately.

5 comments about Camille Claudel: A Life.

1. I read this book last year after seeing the last half of the Isabelle Adjani/Gerard Depardue film on television. The film didn't give Claudel her due. She was a very tough minded woman trying to make her mark in the intensely competitive and 99.99 percent male French nineteenth-century art world. Aside from that her chosen (from childhood) form of expression was sculpture, considered to be purely masculine and financially extremely risky. She was barred from the best art school, L'Ecole des Beaux-Arts, because of her gender. Lesser schools accepted female students but charged them higher fees. At age seventeen Claudel began her studies at the Academie Colarossi, a new and equitable institution. Eventually she became Rodin's student and lover. When it became clear that Rodin would never leave his long-time partner and mother of his son in order to marry her, Claudel left him.
   
   She lived and worked under enormous pressure -- not the least of which came from her mother and sister, very conventional and rather dreary middle-class people. No doubt Claudel was eccentric and nervous because of the difficulties of her life, but she was not insane. Her mother had her committed to a mental hospital after her father died and was no longer able to protect her. Claudel was not yet forty. She never sculpted again. Claudel died a pauper at seventy-nine after living the last half of her life with the insane and other inconvenient people. Her mother and sister never visited her. Her brother visited her two or three times during her incarceration.
   
   Claudel was a genius. For a century Rodin's name overshadowed hers, but since a major retrospective at the Musee Rodin in 1984 and important exhibitions in the U.S. her work is known all over the world. Many of her pieces can be seen at the Musee Rodin in Paris.
   
   
   Ayral-Clause's biography of Camille Claudel is a great gift to English speaking readers. It is deeply researched, beautifully written, and is enhanced with many photographs of Claudel, her milieu and her sculptures. I am very glad I read it.



2. Camille Claudel was an amazing Parisian sculptress who lived far before time was good to her and this biography does her justice...finally!
   
   Born in 1864, Camille Claudel grew up with an ambition un-worthy of her sexual status. She held within her being an artistic fire that was only extinguished by supposed madness. I have the feeling that had this woman been alive today her art and her spirit would thrive. But during the 19th century women were still meant to be barefoot and pregnant with no ambition other than being a wife and mother. Claudel struggled to represent her art and her spirit was destroyed by those she loved the most. She fought against a mother who wanted to keep her quiet and reserved, she defied her brother's idealistic religious beliefs and she competed against the world renowned artiste, Auguste Rodin. Despite the odds against her she created many works of pure and exquisite beauty proving that women could surpass men if given a chance. But because of her spirited talent she was eventually relegated to a hospital for the insane due to her inability to deal with the pressures of a love not returned (with Rodin), financial ruin and a lack of respect for her hard honed works.
   
   Camille Claudel captured the struggles of love, aging and sexism in her famous sculptures: Jeune Fille a la Gerbe (1887), Giganti (1886), Vertumme et Pomone (1905), La Valse (1905), Clotho (1893), L'Implorante (1894-1905) and the magnificent L'Age mur (1902). Her abilities were innate but fine tuned through her affiliation with Auguste Rodin. In this relationship Camille flourished at first, guided under the wing of a master (24 years her senior), but she soon succumbed to his jealous competitiveness and his inability to commit fully to her love. Comparing the two sculptors one finds Claudel to be the true master because she refines lines that Rodin tends to leave unbalanced. Their competitive natures are apparent in the similarities of ideas but in my opinion Claudel outshines her "mentor." Claudel created sculptures from many mediums some plaster, some clay, many marble and even onyx, jade and bronze as well as dabbling in other art forms such as charcoals and portrait paintings. Many of Claudel's best works remain lost due to her internment and her loss of ability to control her own work. She also destroyed many of her own pieces in her angry despair believing them to be under jeopardy of being stolen by "Rodin and his gang." Thankfully the art world has managed to retain most of her great pieces and they currently reside in (of all places) the Rodin Museum in Paris.
   
   This biography is a wonderful read being both interesting and factual and additionally very well written by Odile Ayral-Clause. Camille Claudel lived a tragic life full of ups and downs eventually ending in complete despair. Her life is interesting because she was one of the forerunners for women's rights in that she refused to be dominated by male society and ferociously attacked anyone who attempted to destroy her dreams, unfortunately in 19th century Paris her actions labeled her insane, remember a woman who chose to wear pants was considered a criminal unless they obtained special permission from the police to do so and it was a popular thought at the time that talented women possessed genitalia very similar to men! I think society was more insane than Miss Claudel and I will forever wonder what she could have contributed had she been born in this century. The ending of this woman's tale is heartbreaking in itself but every page in between provides an eye-opening experience of what it must have been like to be an artistic woman during an age controlled by men.



3. This book is the best, most meaningful work on Camille Claudel that I have read thus far. I highly recommend it as an accessible, informative, fascinating work that illuminates the life of one of the finest sculptors in France. Odile Ayral-Clause tells the truth, with unflinching honesty, drawing upon new documents that only came available in September 2000. She offers the details that make this woman's life come real for the reader.



4. Odile Ayral-Clause's work is excellent! I read the book from cover to cover last year and as I am now planning a trip to Paris this Spring, I am rereading the book again and enjoying it even more!

   A.C. captures so well the spirit of the woman, her social environment, and the city of Paris.

   Thank you for bringing this beautiful artist to life!




5. I received "Camille Claudel-A Life" for my birthday this month.
   I began reading it at noon and completed it by 4 pm. I could or nor would I put it down so to speak. The book is well written, excellent sources, index, bibliography. Unfortunately, the photo's are not of good quality but passable considering there are any left and the abuse of many photo's and her own work in itself which have vanished! I cannot blame the photographer who did his best! That in itself would be a photographer's dream to compile photoghraphs of her work and publish them as a book of photography of her work and places she lived.
   I have studied Camille for years and sat through a relatively good film, "Camille Claudel" which made Rodin appear an outright monster and she a victim to the max. In analyzing the aforementioned I felt something was indeed amiss. In reading the book many if all of my questions were answered and I was delighted with the writers sensitivity and reality of what may have transpired. When I lived in Paris, by accident, I was standing outside of herlast atelier's before she was committed to an asylum by her family. This was 4 years ago and in asking questions about her at numerous bookshops the Sorbonne and communicating with noted people no one who knew more than I did about her! No one has completed such an intelligent, well documented and researched book as Odile A-Clause. Thank you, Ms. Clause, Thank You

5 comments about The Joseph Cornell Box: Found Objects, Magical Worlds.

1. I got this at the Getty Museum, Joseph Cornell being one of my favorite artists. I loved the selection of clipart which I made copies of & used in my own collages. The box itself,well,I just like having it on display on a shelf in my room. There is also a very nicely detailed book with background about the artist as well as ideas for making your own box,by using the one in the kit (or making your own,which I'll probably end up doing.) A unique introduction to an equally unique artist,that would make a great gift for artistic types &/or fans of Cornell's work.



2. I think the book/kit is beautifully put together. It's a wonderful way for children and adults to learn about Cornell's life and work, gaining a sense of clarity about an artist whose personal mythology could so easily be considered inaccessible.



3. One of my design students brought the box part of this set into class as a base for a prototype this evening... while an interesting artifact, the concept of it is a bit frightening. Reducing Cornell's -- or any other artist's -- vision into an ersatz how-to kit not only undermines the brilliance and significance of the work of the artist, but completely defeats the process of artistic self-discovery and exploration on the part of the student. While this box-set looks good at twenty-feet, a better route would be to read-up on Cornell and other self-taught artists in more robust texts (Howard Finster, Ralph Eugene Meatyard, Jacques Henri Lartigue... all of whom have books on Amazon) and use this insight to forge one's own artistic path in life... one that derives inspiration from the artist themselves rather than from a how-to kit.



4. I wouldn't recommend this book necessarily to serious artists, but for a person beginning their first tentative steps toward collage and assemblage, this kit would be a good introduction. It includes a full-color book with lots of images and descriptions of Cornell's works and life. The kit itself provides materials for taking a first step toward creating found art. This would be particularly good for a young person as a way to introduce them to Cornell.



5. Interesting example of artists work but carboard box is flimsy and not as authentic as I expected. Looked better online.

No comments about It's Not a Bird Yet: The Drama of Drawing.

4 comments about Pens from the Wood Lathe: Step-By-Step Instructions for the Wood Turner.

1. Great book to get me started turning pens. A lot of good info and pictures. Covers all the basics well.



2. I picked this book up on the recommendation of a friend. I've advanced to the stage where I'm getting pretty good at making dowels on an expensive lathe, and was feeling like I needed to find something that made me feel more productive. If I've got it figured right, my first pen will cost me about $4,000. After that, hopefully, economy of scale should set in (I hope). If you haven't figured it out yet, I'm pretty good in a wood shop, but an absolute newbie at turning.
   
   I think my friend was being kind. Dick Sing assumes you have some familiarity with small gouges, skews and scrapers, which I do, and does little or no explanation of the turning part of pen making. He focuses on the intricacies of the equipment that is peculiar to pen making (mandrels, drilling jigs, etc.). Truth is, basic pen making is not a challenging occupation, and Dick Sing offers lots of pictures and straightforward text. This could have been called Pen Making for Dummies. In other words, anyone who can make a dowel on a lathe should be able to follow this book. Even me.
   
   What is missing, though, is and real focus on creative pen making. But this I mean grooves, beads, and chatter work sort of things that can turn a pen into something other than a useful dowel. He does play around a bit with materials and an interesting desk pen, but for the most part this book is about kit making and not about custom pen making. Even so, it is a terse, but very useful, introduction.



3. 64 pages, full color, 9 gallery pages. Step by step pictures with detailed text on how to make pens/pencils on the lathe. This book was a must for making my first pen, and a great reference as I have progressed. Pens include: Standard twist (and pencil), Dome-top, Rollerball and Fountain, Cigar pen, Flat-top click pen, Flat-top twist pen, and desk pen.



4. A very clear and concise presentation of what is required for making excellent writing instuments. Great color photos of all materials and instructions of each step in the selection of woods, and hardware, how to drill, match and assemble the components. The number of ways to varie the appearance of the instruments. He does not go into the discusion of lathes. He concentrates making pens and pencils and the variations that can be created. I have his other book, "UNIQUE & UNUSUAL PENS from the wood lathe" and I refer to them quite ofen for new ideas. I also refer to "TURNING PENS AND DESK ACCESSORIES" by Mike Cripps which I also use

3 comments about Shawnee Pottery: An Identification & Value Guide.

1. This is a very nice book for the Shawnee Pottery collector. Every collector should use every available resourse at there disposal prior to purchasing Shawnee Pottery because over 50% of the items listed as Shawnee on our favorite on line auction web site is a fake. The value guides are not much use in that they do change frequently, but the photos and descriptions are great. This is just one tool you can use prior to buying Shawnee Pottery.



2. Good pictures and descriptions and historical information, book was as new. Like most collector's guides, the values are somewhat inflated, but it is an excellent reference and well worth the price.



3. This is an excellent book. The Mangus' have put together an exhaustive reference on this collectible pottery. They cover everything! From planters to figurines, from bookends to cookie jars, from the design lines to the kitchenware, it's all here.

   They include an extensive history of the pottery and its people (owners, designers, employees). They detail the various production methods used to produce the wide variety of wares. They include a wonderful section of photos of the various paper labels used by Shawnee (they used few, if any, backstamps or marks, other than the common "USA".)

   My only quibble with this book (and it's a teeny tiny one) is that the prices shown are high in today's market. However, that's not the Mangus' fault, as it reflects the impact that online auctions have had on collectibles in all areas and markets. The bottom line is, if you're looking for a reference on this fun pottery, this is the book to buy!

3 comments about Lettercarving in Wood: A Practical Course.

1. It has been almost 90 days since the order was placed and now the current shipment date is in February.



2. Another excellent book from Chris Pye, all you need to know to start letter carving.
   Written in Pye's usual thorough and detailed style, it helps you with selecting tools, how to hold your workpiece, shows different letter styles, both incised and raised lettering etc...



3. This is a very good beginners book... I just started wood carving and my technique wasn't very good. After following the tips and tricks that you learn from reading this well laid out book the letter's I am carving are much stronger and the shapes more fluid. I highly recommend this book.

1 comments about Ron Mueck.

1. This is the book to get if you want the behide the sences look in to the live of a great artist it gives you a studio look at how Ron Mueck does it great book and great price.